John Henderson explores three letters of Seneca describing visits to Roman villas, and surveys the whole collection to show how these villas work as designs for contrasting lives. Seneca's own place is ageing drastically; a recent Epicurean's paradise is a seductive oasis away from the dangers of Nero's Rome; once a fortress of the dour Rome of yesteryear, the legendary Scipio's lair was now a shrine to the old morality: Seneca revels in its primitive bath-house, dark and cramped, before exploring (...) the garden with the present owner. Seneca brings the philosophical epistle to Latin literature, creating models for moralizing which feature self-criticism, parody and re-animated myth. Virgil and Horace come in for rough handling, as the Latin moralist wrests ethical practice and writing away from Greek gurus and texts, and into critical thinking within a Roman context. Here is powerful teaching on metaphor and translation, on self-transformation and cultural tradition. (shrink)

Pylyshyn defends a distinction between early visual perception and cognitive processing. But exactly where should the line between vision and cognition be drawn? Our research on object identification suggests that the construction of an object's visual description is isolated from contextually derived expectations. Moreover, the matching of constructed descriptions to stored descriptions appears to be similarly isolated.

This satire has often been accounted a poor poem, repetitive, irrelevant and self-indulgent. Rather than recover one more cultured display of refinement as disguise, this essay explores instead the fall-out that radiates from a classic text's play with the ‘loose talk’ of plebeian gossip. The proposal here is that Horace and his intimates could, and can, easily share a view of the view of ‘their’ populace, but at the price of surrendering control over the import of their intervention. This claim (...) turns on the figure ‘Brutus’, which noises a republican politics of resistance to tyranny through what linguists term nonphonation: as we shall find, Horace both tells a dummy tale about ‘przemilczenie’ and at the same time performs a dumbshow of his own. (shrink)

What are the effects of word-by-word predictability on sentence processing times during the natural reading of a text? Although information complexity metrics such as surprisal and entropy reduction have been useful in addressing this question, these metrics tend to be estimated using computational language models, which require some degree of commitment to a particular theory of language processing. Taking a different approach, this study implemented a large-scale cumulative cloze task to collect word-by-word predictability data for 40 passages and compute surprisal (...) and entropy reduction values in a theory-neutral manner. A separate group of participants read the same texts while their eye movements were recorded. Results showed that increases in surprisal and entropy reduction were both associated with increases in reading times. Furthermore, these effects did not depend on the global difficulty of the text. The findings suggest that surprisal and entropy reduction independently contribute to variation in reading times, as these metrics seem to capture different aspects of lexical predictability. (shrink)

Two herdsmen meet and bicker; bargain over a stake; duel in balladeering; and ballot their umpire for a final decision. The first half of their poem dramatizes the process of challenge and defiance from which the bout materializes; the result is a draw. Critics attempt what none of its three herdsmen try out loud, namely to solve the pair of riddles with which the song-contest ends, before the judge pronounces the result. Solutions range between putative attribution to the bucolic minds (...) of the riddlers, and ascription to their creator, the intellectual, urban, bookish, Hellenizing poetaster, who here, in any event, dares a touch of rustic needling that he precisely did not find in his studies in Theocritea, which include no riddles. Solution has generally seemed the self-evident challenge to scholar-readers. (shrink)

Two herdsmen meet and bicker; bargain over a stake; duel in balladeering; and ballot their umpire for a final decision. The first half of their poem dramatizes the process of challenge and defiance from which the bout materializes; the result is a draw. Critics attempt what none of its three herdsmen try out loud, namely to solve the pair of riddles with which the song-contest ends, before the judge pronounces the result. Solutions range between putative attribution to the bucolic minds (...) of the riddlers, and ascription to their creator, the intellectual, urban, bookish, Hellenizing poetaster, who here, in any event, dares a touch of rustic needling that he precisely did not find in his studies in Theocritea, which include no riddles. Solution has generally seemed the self-evident challenge to scholar-readers. (shrink)

Julius Caesar's "Bellum Ciuile" writes Caesar-articulates a particular construction of its subject: Caesar. The essay shows how writing in the civil war wins and loses the war, and how the writing of the Civil War exploits this throughout its course. The initial suppression of Caesar's letter to the senate in 49 BCE creates a lack which the rest of the text is to supply, and a structure of injustice inflicted on Caesar by villainous manipulation of communiqués. The narrative presents Caesar's (...) withheld claims over and again, in an ever-lengthening set of dramatized formulations and vindications, both in the form of his own behaviour and in its contrast with his enemies'. The many and various roles of writing in the civil war are examined, from orders and despatches to the propagandist war of words, and it is shown how the conflict is moralized through polarity between the letters sent by the two sides. Caesar presents himself as the last proconsular conqueror of the republic, playing the patriotic general from Gaul to Alexandria, where the "Bellum Ciuile" gives out-in time for this the first writer and mythographer of the Roman Empire to hide his hero's overthrow of the political order. It is argued that Caesar runs Bellum Gallicum and "Bellum Ciuile" together to make a seamless continuum, as a vital strategy for occluding, denying, and displacing civil war from the triumphant procession across a welcoming Roman world he offers in the "Bellum Ciuile". (shrink)

This essay deals with plague and plagues in renaissance and early modern Europe over the longue durée, principally from a methodological perspective. I shall combine an historiographical approach with an historical account of developing reactions to plague and in passing compare measures to cope in the early sixteenth century with reactions to the impact of the Great Pox or the Mal de Naples. I shall concentrate on southern Europe and in particular on Italy and my aim is to re-assess the (...) historiography of plague through the lens of some of the more recent Anglo-Saxon literature in this field. In the process I shall outline some of the debates within the field and end with some general methodological observations drawn from early modern Italy. (shrink)

This satire has often been accounted a poor poem, repetitive, irrelevant and self-indulgent. Rather than recover one more cultured display of refinement as disguise, this essay explores instead the fall-out that radiates from a classic text's play with the ‘loose talk’ of plebeian gossip. The proposal here is that Horace and his intimates could, and can, easily share a view of the view of ‘their’ populace, but at the price of surrendering control over the import of their intervention. This claim (...) turns on the figure ‘Brutus’, which noises a republican politics of resistance to tyranny through what linguists term nonphonation: as we shall find, Horace both tells a dummy tale about ‘przemilczenie’ and at the same time performs a dumbshow of his own. (shrink)

Ovid's two versions of his encounter with a woman at the races in the Circus Maximus are re-read together as celebrations of the spectacle of the spectators in the arena. The analytical approaches of "Everyday Life" collage and "Foucauldian panopticism" structure are shown to "over-achieve." Ovid dramatizes personal politics at the Circus in a sustained display of the self-reflexive poetics of erotic metaphor. When elegiac amor is acted out as a race, victory and favor are eroticized, steering between crude explicitness (...) and bland circumlocution, into an expert triumph of sexual asymmetry. Ovid finds a version of femineus amor which brings his poem to a climax, and a climax to his poem, in spite of public decency and myriad spectators. Every quirk, routine, or landmark of the ludi circenses, including the parade of the gods, is included as a challenge for Ovid's poetic chariot, another lap in the race-or another race, re-run according to a fresh strategy. Re-playing the meta-literary terms of poetic genre, Amores 3.2 gives an "epinician" turn to Amores 3, playing games on Callimachean strategies for re-starting a work on a new lap. (shrink)